Seven dice in total: 5 round bone pieces and 2 falcon-shaped bone pieces. They are pictured in "Objects of Myth and Memory." Each die has a component of 11.694.9000.1a-g painted on it, e.g. 11.694.9000.1a.

Modern feather bonnet made over a felt hat base. It's construction seems to be very poorly made so it was possibly made just for sale.

This side fold dress consists of six pieces: the main body of the dress, the flounce, the shoulder flap, the top bodice, and two hide thongs as a second shoulder strap. The horizontal seam is low and the folded over portion is shorter and would barely cover the breast. The folded over flap is even shorter in the back. The hide is worked so that the flesh side of the skin lies against the wearer, with the fur side out. The flounce is laced with hide thong. The seam of the dress, the blue and white pony beads on the shoulder strap, and the hem tabs are all sewn. It is likely that the two bottom tabs at the left side of the dress are formed from a remnant of the foreleg of the animal or are a decorative form to resemble this pattern technique imitating the animal's legs. Ten quilled stripes are worked around the skirt of the dress, horizontally, in measured registers of blue (once blue-green but faded since original BMA acquisition) and brown quill, separated by shorter sections of white porcupine quill where red tufts, once the tassels, of yarn emerge. Small black lines separate each quilled section. Some vertical marks of what is probably ochre appear at the ends of the quilled bands. Tin cones and a few copper cones are sewn to the bottom of the flounce, more or less at knee length, and on the two bottom tabs, which are further elaborated with an edging of blue and white beads. Five pairs of copper cones are sewn up the side seam. If the shoulder strap is examined from above, blue and white beads can be seen ornamenting the seams. A single row or blue beads edges the sides while the front and back seams display eight bands of two rows of white beads alternating with two rows of blue pony beads. See Jarvis supplemental file in Arts of Americas office or Brooklyn Museum Library.

Sioux. Beautiful very long pipe stem. Catlin painted people holding these long pipes. Ceremonial use is for agreement meetings, visits and trade.

The object is a bow, a bow case, arrows and a quiver. Bow is inlaid with elk antler and decorated with bands of mallard duck neck skin. There is red dyed horsehair tufts at each end. Duck skin is used because for the Sioux the duck appears in all three levels of the world - sky, water and earth. The buffalo hide bow and quiver case has red and black pigment mixed with glue. Even lines of glue are used to create lines around the black triangles. The bow has an elaborate design on the surface created by inlaid sections of elk horn. On either side of the inlaid area is a red painted band, at the ends of which are mallard scalp feathers that have almost disappeared. The bow is backed with white-painted thread. Attached to each end of the bow are red horsehair ornaments. Also attached is a strip of red stroud cloth fastened around the handgrip. The bow case and quiver are made of buffalo hide and have sparsely painted designs. There are five configured designs: two on each side of the bow case and one on the quiver. The designs are made up of elongated diamond shapes divided in half with a small linking section between each repeated triangular part. All parts of the design are delineated with thin impressed lines. The triangles are filled in alternately with dark brown and red color. The small linking section is brown. The intensity of the colors is pale, perhaps from an application of sizing. From the bottom of the bow case hang hide tabs, with pierced decorations.

Transformation masks such as this Thunderbird belong to the sky world, which consists of Ancestral Beings that are transported to the heavens from where they can return as material beings in recognizable form such as human. The Kwak waka’ wakw people say when this bird ruffles its feathers they cause thunder and when they blink their eyes lightning flashes. Each thunderbird is associated with a specific village group or lineage, a specific place of origin unique to each and its details are carefully guarded. Masks can be owned individually or by a family but rights are always inherent, flowing from one generation to the next. The Namgis people relate that this thunderbird flew out of the heavens to assist a man who had transformed into a large halibut. When finished assisting he removed his headdress and winged cape and sent them back to the sky world becoming human. The mask may be worn on the forehead with the dancer’s face showing or it may cover the face to indicate the duality of man and bird. The performer wears a full costume of representing the bird. The mask would be danced during a Winter Ceremony, called a Potlatch, where songs, dances and rituals are performed and gifts may be given. When not used such masks are wrapped carefully and hidden away. When worn and danced and closed the mask portrays a bird head with a large yellow beak. When open, the head and large beak divide, expand, and become a full-bodied bird with outstretched wings. Each wing contains a linear image of a sisiutl or lightning snake. At the center of the full-bodied bird is a human head. Above the head is a small seated figure and below it is still another bird. Opening and closing the mask would add a spectacular effect during the dances. When the mask was first collected it had cord riggings to open its parts. It was collected from the Gigilgam lineage of the Nimpkish. The mask is fragile but stable. There are scattered pigment losses. Red cedar ruff originally surrounded the mask when it was worn for performances.

The Pomo bear-doctor and the dagger he carried have left a trail of confusion in scholarly literature. Dr. Hudson, informant to Stewart Culin, Museum’s curator, summarized as follows. Bear men belong to a secret organization with a representative from each tribe. He preyed on the community and if killed another would be elected in his place. The object of the society was to eliminate undesirable people in the tribe. Bear-doctors were said to have carried one or two daggers of this type with the tips sharpened and rubbed on grinding stones.The realistic style of incising, impeccably rendered does indicate artist provenance to William Benson and has been found on other items know to have been made by Benson. Since several of these have been found in Museum collections, all made by Benson, these are clearly "models" made for the non-Native market.

Woven hat painted by Native American artist Tom Price with the symbol of a leading family in black, red, and blue green. The design is of Tcamaos, the mythological personification of submerged driftwood that comes to the surface and causes damage to canoes when users aren't watching. The red ovoid form that is part of the artist's personal style as well as the red star on the crown help to identify Tom Price as the painter of the hat. CONDITION: Stable and fair. There are numerous repairs with minor cracks and breaks. The blue green paint around the eyes has almost completely flaked off.

Polychrome vessel with a procession of warrior figures with trophy heads hanging from their waists surrounding a bound prisoner who has been stripped of his clothes except for a trophy head (possibly a disgraced warrior). The prisoner's penis has been split in two and as blood drips down, he screams in pain (the speech glyphs above his head indicate screaming). The figure behind him holds an executioner's staff topped with a large obsidian knife.

This is a muslin tipi liner although often during this period muslins did not actually function as liners but as muslin hangings displayed to tell personal exploits or some were made for trade. This liner does have the marks left by the small weight pebbles usually assicaited with hanging inside a tipi usage. It is a very large sheet composed of two long pieces joined with a seam along the center. The bottom panel is undecorated. The top section is drawn/painted and colored with ledger like drawings of horses, men in various encounters and battles. The drawings are correct, right to left. It might be individual battles from a larger fight so it might be from the big battles in which Rain in the Face is known to have participated or it could be smaller battle engagements such as stealing horses, counting coup on Native and non-Native enemies. Accession notes include the information that the artist Edwin W. Deming was given the liner by Hunkpapa Lakota warrior Rain-in-the-Face during Deming's visit to Standing Rock in 1889 and Deming may have seen him painting all or part of it. Extensive notes are in curatorial files.